Pre Order - launches in May
200 pages
182 mm x 128 mm
90 mm cover flaps
Format: Paperback
ISBN 978-1-7392596-3-1
£12 (£2 p&p)
Pre Order - launches in May
Special Edition
Book + Tote Bag 38 x 41 cm
Edition of 20
£25 (£2 p&p)
Pre Order - launches in May
Special Edition
Book + T-shirt
Medium, 50 cm across chest
£40 (£2 p&p)
The Lives of the Artists, Susan Finlay
The more I think about it, art theory is no place for straights. And contrary to popular opinion you can’t be really poor—or poor without a safety net—and bohemian. Or live in a capital city and have a fun time all the time or even some of it. There was no good reason why Someone Else and I split up besides different senses of humour and views on economics - which are two no good major reasons...
'In Vasari’s soaring vision of art, the most-used adjective is ‘beautiful’. In Finlay’s tarmac-hugging account it is ‘posh’. This book is not an appraisal of perfection of an artist’s output, but a rummage through an improvised life full of so much besides art. What a wry, unsparing weave of formative episodes and structural ironies. What devil-may-care tilts at authority. No redemption or overcoming all odds here! This unvarnished world is marbled through with brilliance and shit.'
— Sally O’Reilly
Susan Finlay is an artist who writes poetry and fiction, most recently The Jacques Lacan Foundation, a White Review Book of the Year. Her work has been published in Worms, MAP, POETRY, and The Stinging Fly. Residencies include Open School East and the Freud Museum in London, Unlisted in Austin, and Callie's in Berlin.
The more I think about it, art theory is no place for straights. And contrary to popular opinion you can’t be really poor—or poor without a safety net—and bohemian. Or live in a capital city and have a fun time all the time or even some of it. There was no good reason why Someone Else and I split up besides different senses of humour and views on economics - which are two no good major reasons...
'In Vasari’s soaring vision of art, the most-used adjective is ‘beautiful’. In Finlay’s tarmac-hugging account it is ‘posh’. This book is not an appraisal of perfection of an artist’s output, but a rummage through an improvised life full of so much besides art. What a wry, unsparing weave of formative episodes and structural ironies. What devil-may-care tilts at authority. No redemption or overcoming all odds here! This unvarnished world is marbled through with brilliance and shit.'
— Sally O’Reilly
Susan Finlay is an artist who writes poetry and fiction, most recently The Jacques Lacan Foundation, a White Review Book of the Year. Her work has been published in Worms, MAP, POETRY, and The Stinging Fly. Residencies include Open School East and the Freud Museum in London, Unlisted in Austin, and Callie's in Berlin.
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